Search results for ""Editio Musica Budapest""

taken from New Liszt Edition Paperback

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Composed in 1834, Liszt's Grand duo is based on material from three pieces from the first book (op. 19b) of Mendelssohn's Songs without Words (no. 1 in E major, no. 6 in G minor, and no. 3 in A major). While Liszt made an almost literal transcription of the first piece, he gave the second and third pieces a much freer arrangement, in the style of concert paraphrases. The large-scale concert piece was premiered by Liszt and Chopin on Christmas Day 1834 in a salon in Paris. The Grand duo was not published in Liszt's lifetime, and has survived as a draft.Schubert's Fantasy in C major (also known as the Wanderer Fantasy) was a defining musical experience for the young Liszt. He arranged this masterpiece of Romantic piano literature for piano and orchestra in 1851, at the beginning of his Weimar period, and it was premiered by Julius Egghard in Vienna in December of that year. By 1855, Liszt had transcribed this arrangement for two pianos, because it was played on 22 October 1855 at a conce

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Introduction and Dance exploits the alto saxophone's characteristic sound and virtuosity. It starts with a slow, nascent music, which gives way to a very fast dance with aksak rhythm in an asymmetrically segmented 8/16 meter. The work was commissioned by and is dedicated to saxophonist Levente Puskas and pianist Judit Varadi, who premiered it in September 2020 in the Hungarian Radio, and then first performed in concert in November that year.Marton Kerekfy (b. 1981) studied musicology and composition at the Liszt Academy of Music in Budapest (2000-2007) and received his PhD in musicology (2015) from the same institution. In 2006 he spent one semester on an Erasmus Grant at the Mozarteum in Salzburg. Marton is Senior Research Fellow at the Budapest Bartok Archives, Editor of the Bela Bartok Complete Critical Edition, and Editor-in-Chief at Editio Musica Budapest ZenemA kiado.

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Comprising four printed books and rich digital material, the Bassoon ABC is a modern and innovative instrumental method by Agnes Herpay, a successful Hungarian bassoonist and teacher. The method itself comprises two volumes (Z. 20092, Z. 20093), while piano accompaniments have been published in two further volumes (Z. 20092P, Z. 20093P).In this book all pieces with piano accompaniment in Bassoon ABC vol. 2 are included. Transposed versions for tenoroon in F and G can be downloaded at Digikotta free of charge using the individual code in the printed book.

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Several transcripts have been made of Johann Sebastian Bach's lute works over the past 150 years. Due to the simultaneous harmonic and melodic character of the lute and the lute harpsichord, favored by Bach, these usually evoke the original sound with a combination of several instruments (for example, Zoltan Kodaly's transcription of the lute prelude in C minor for cello and piano). The joint work of cellist Tamas Zetenyi (*1985) and composer Marcell Dargay (*1980) is exceptional in that respect that it transfers all movements of the lute suite in C minor, including the fugue, to a single cello. The publication also includes an ornamented version of the sarabande.

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This book is to some extent a continuation of Dr. Kiss's 2015 textbook A Practical Approach to Harmony: From the Birth of Polyphony to the Baroque Era.The aim of this book is to support conservatory students (aged 14-22) and their teachers with a collection of carefully selected material from which to learn the necessary musical concepts and practical knowledge of music theory, form, and harmony.The target era is the Viennese Classical period, which spans just under one hundred years between around 1730 and 1830. The focus is on the greatest representatives of their time: Haydn, Mozart, and Beethoven.The book concentrates on the practical aspects of studying music theory, form, and harmony. This means that all musical concepts become practical knowledge and are integrated into skills that a cultured musician needs (score reading, writing, singing or playing, composing, memorizing, transposing, arranging, analyzing, and so on).The book consists of ten units grouped into three levels of

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Bela Bartok composed Dance Suite in 1923 for the 50th anniversary of the foundation of Hungary's capital through the unification of Buda, Obuda, and Pest. It soon became one of his most popular orchestral works, and in 1925 he arranged it for piano solo. Adam Tabajdi completed the organ version of Dance Suite in 2019/20, and recorded it on the Kern organ of Sapporo's Kitara Concert Hall later that year. His transcription was inspired by the composer's own version for piano, exploiting the alternative solutions offered by the ''orchestral'' timbres of the organ, with its manuals and pedals. The ideal instrument for the present version is an expansive, eclectic style organ with at least three manuals.This flamboyant arrangement requires great virtuosity, stamina, and creativity from the performer. Adam Tabajdi (b. 1993) is an outstanding young Hungarian organist. Alongside the music of J. S. Bach, his repertoire includes Liszt, and Franck, as well as twentieth-century works, with a speci

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Comprising four printed books and rich digital material, the Bassoon ABC is a modern and innovative instrumental method by Agnes Herpay, a successful Hungarian bassoonist and teacher. The method itself comprises two volumes, while piano accompaniments have been published in two further volumes Z. 20092P, Z. 20093P).Sound recordings of all pieces in the Bassoon ABC are available online at Digikotta free of charge using the individual code in the printed book. In the case of pieces with piano accompaniment and those for two or three bassoons, the voices can also be played individually, which can be very helpful in music education if no chamber-music partner or accompanist is available.The Bassoon ABC is also suitable for students learning tenoroon (in F or G) or fagonello (bassoonello) because transposed versions of the recordings and the sheet music are also available at Digikotta.

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The composition was written in 2013 at a commission of flutist Rebeka Kruchio. Mate Bella, as in many of his other works, examines here the possibilities of the transition between noises made by musical instruments and musical sounds. At the climax of the piece, the flutist blows the syllables of the name RE-BE-KA into the instrument.

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The title of the chamber piece Self-Quotations already carries the danger of sentimental retrospect. Of course, Jeney rejects this possibility: he summarizes the confrontation with his own career so far not in a large-format composition intended to be representative, but in a chamber work written for five instruments. Self-control and the tension that comes with it is also manifested in the fact how he highlights the self-quotations from their original environment, completely transforms them, and, as if they were just found objects, is preoccupied with what he can do with them. Distancing oneself from erupting emotions is associated with playfulness in the Self-Quotations. The playfulness in Jeney's work can be grasped in a variety of compositional processes, all of which call attention to the fact that in this retrospective work the composer was primarily concerned with how to construct a composition from as few and simple musical elements as possible. (Anna Dalos)

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These cadenzas were originally written for my son. Composing them, I summed up my own musical and performing experience of many decades, and my respect for Haydn's art. My intention was to follow the style of the composer's era as accurately as possible. (Miklos Perenyi)

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In his Sonata, Peter Wolf puts his style well-known from the character pieces of his previous piano series (Wolf-temperiertes Klavier, Jazz preludes) in the service of a demanding form. We can recognize the style that can be traced back to jazz and Bartok, the characters that tap like a toccata or swirl like perpetual motion, the singing lyrical melodies or even such playful turns as the baroque musette-like episode of the slow movement. Like Wolf's previous piano works, this multi-faceted composition, which sets high standards in terms of instrumental technique, was inspired by the outstanding pianist Jozsef Balog and gives the impression of his individuality as a performer.

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Mate Balogh's (*1990) solo viola piece, Three Songs, completed in 2015, is based on the sound of folk music from three non-European peoples, but it does not evoke original folk melodies. Translating them into the composer's own musical language, the first piece imitates the overtone-based singing of Tibetan Buddhist monks, the second the quarter-tones of Armenian folk melodies, and the third the motif-repetition technique of the Navajo Indians.

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